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1.
Gabrielle D. Clements
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Gabrielle de Veaux Clements was an American painter, print maker, and muralist. She studied art at the Philadelphia School of Design for Women, Pennsylvania Academy of the Fine Arts, Clements also studied science at Cornell University and graduated with a Bachelor of Science degree. She created murals, painted portraits, and made etchings, Clements taught in Philadelphia and in Baltimore at Bryn Mawr School. Her works have been exhibited in the United States and at the Paris Salon, Clements works are in several public collections. Her life companion was fellow artist Ellen Day Hale, Gabrielle de Veaux Clements was born in Philadelphia in 1858. Her parents were Dr. Richard Clements and Gabrielle de Veaux and her mother Gabrielle de Veaux was from South Carolina. American Revolutionary War hero, General Francis Marion, her ancestor, was called Swamp Fox. Clements attended Miss Longstreths school in Philadelphia and developed an interest in art as a teenager, in 1875, Clements attended the Philadelphia School of Design for Women in Philadelphia under Charles Page, with whom she studied lithography. She then attended Cornell University in Ithaca, New York from 1876 to 1880, where she studied science, made scientific drawings and her senior thesis was A Study of Two German Masters in Medieval Art, Dürer and Holbein. After completing her studies at Cornell, Clements returned to Philadelphia and attended the Pennsylvania Academy of the Fine Arts from 1881 to 1882 and she won the schools Toppan Prize. Stephen Parrish taught her to be an etcher in 1883 and she produced a number of lithographs and scientific drawings during her school years. In 1883, she met who would become her travel and life companion, about 1884, she attended Académie Julian in Paris. Clements studied under William-Adolphe Bouguereau and Tony Robert-Fleury, Hale came to Paris with be with her. In 1885, Clements exhibited at the Paris Salon and as the women traveled through France, in 1883, Clements began working professionally, making prints and exhibiting her works. She created the appearance of 3-dimensions by overlapping, or interposition, in Church and Castle, in 1888, Clements exhibited 20 of her works at The Work of Women Etchers of America show held by the Union League of New York, led on by Sylvester Rosa Koehler. Held at the Museum of Fine Arts, Boston, it was the first show held at a museum of works of art. David Tatham considered the exhibitions led by Koehler in the late 1880s to be ground-breaking women etchers shows and her etchings were based upon modern French techniques, like a la poupée, and were influenced by Woodblock printing in Japan and the works of James Abbott McNeill Whistler. Clement made a portrait of Edmondo De Amicis, which was printed in a volume of etchings and photogravures to his 1888 book Spain

2.
Jacques Hnizdovsky
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Jacques Hnizdovsky, was a Ukrainian-born American painter, printmaker, graphic designer, illustrator and sculptor. Jacques Hnizdovsky was born on January 27,1915 in Ukraine in the Borshchivskyi Raion of Ternopil Oblast to a family bearing the Korab coat of arms. He was the youngest of seven children and the member of his family that was able to emigrate to the west. He began his fine arts studies at the Academy of Fine Arts in Warsaw, germanys invasion of Poland and bombardment of Warsaw forced Jacques to flee Warsaw and continue his studies at the Academy of Fine Arts in Zagreb. He was classically trained and had a great interest in portraiture, Hnizdovsky created hundreds of paintings, pen and ink drawings and watercolors, as well as over 377 woodcuts, etchings and linocuts after his move to the United States in 1949. He was greatly inspired by printing in Japan as well as the woodcuts of Albrecht Dürer. Influences on his works can be seen on his website. Hnizdovsky printed all his woodcuts and linocuts himself at his home studio and his first few years in the United States were marred by financial difficulties, language difficultues and a creative crisis. But what at first were merely substitutes for the human form, later became his most cherished subjects. He was well known in all the botanical and zoological gardens in New York, at the Bronx Zoo, he found many models that were willing to pose for peanuts. Andy, the orangutan, who opened the Ape House of the Bronx Zoo when he was just a baby, was one of Hnizdovskys favorite models, when Andy died, the Bronx Zoo immediately purchased the Hnizdovsky woodcut in remembrance of Andy. Another favorite Bronx Zoo model was the sheep, Hnizdovskys The Sheep would become his best known print, illustrating the poster for his very successful exhibition at the Lumley Cazalet Gallery in London. This poster, incidentally, can be seen in the scene of the film The Hours. Hnizdovsky has exhibited widely and his works are in the permanent collections of museums worldwide. Hnizdovsky designed numerous covers and illustrated many books. He also designed stamps and a souvenir sheet for the Ukrainian Plast postal service. Jacques Hnizdovsky died on November 8,1985 in Bronxville, New York and his archives are housed at the Slavic and Baltic Division of the New York Public Library. Tahir, Abe M. Jr. Jacques Hnizdovsky Woodcuts and Etchings, Shows all prints created during the artists lifetime, a catalogue raisonné, profusely illustrated with images

3.
Chaim Koppelman
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Chaim Koppelman was an American artist, art educator, and Aesthetic Realism consultant. Best known as a printmaker, he produced sculpture, paintings. A member of the National Academy of Design since 1978, he was president of the Society of American Graphic Artists and he established the Printmaking Department of the School of Visual Arts in 1959, and taught there until 2007. This principle informed Koppelmans art, teaching, and his work as an Aesthetic Realism consultant, Koppelmans art is noted for its originality, masterful technique, humor, and power. A retrospective exhibition at the Museo Napoleonico in Rome exposed his work to an international audience, Chaim Koppelman was born in Brooklyn, New York City, to Sam and Sadie Koppelman, whose images appear in several of his works. At the age of 9, he drew a profile of Napoleon in a geography book and he began his study of art in Works Progress Administration classes at the Brooklyn Museum in 1936, and continued at Brooklyn College, the Educational Alliance, and the American Artists School. He studied sculpture with William Koss, abstract painting with Carl Holty, at the Art Students League, he studied sculpture with Jose de Creeft and etching with Martin Lewis and Will Barnet. Two of his early, abstract pen and ink drawings are in the Guggenheim collection, the first recorded exhibition of Koppelmans work was held in the Lounge Gallery of the Eighth Street Playhouse in 1942, and included drawings, paintings, and sculpture. The following year, he had an exhibition at the Outlines Gallery in Pittsburgh. In Koppelmans opinion, Siegel was the most important philosopher of the 20th century – perhaps of all time, in Aesthetic Realism classes and lessons, Koppelman learned that ethical problems are also artistic problems. He felt his work suffered from a fight between rigidity and flexibility and he learned he could go after precision in the studio as penance for being careless at other times, wanting to get away from things. As freedom and order, truth and imagination became more integrated in his life, “I had always had a classical bent in my work, ” he wrote. “But there was also a wildness in me that had not come into my work sufficiently or gracefully and he also learned that art does not arise from suffering or depression, but rather from the hope to respect and honestly like the world by seeing opposites as one. Koppelman’s art is permeated with his understanding of this conflict and his works are often allegories which point to the discrepancy between, and the need to integrate, opposites such as pride and humility, generosity and selfishness, idealism and cynicism. “That art could be a vehicle for understanding individual behavior seems always to have inspired Koppeman’s creative process” wrote John B. He worked as a weatherman during World War II, guiding ships through the rough waters of the English Channel. He manned a machine gun in the D-Day landing on Omaha Beach. Before the invasion, he had able to study at the Art College of Western England in Bristol

4.
Jacques Reich
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Jacques Reich was a Hungarian portrait etcher, active mainly in the United States. He first studied art in Budapest, in 1873 he came to the U. S. and continued his studies at the National Academy of Design in New York and the Pennsylvania Academy of Fine Arts in Philadelphia. In 1879 he went to Paris to study for a year under the noted painters William-Adolphe Bouguereau, in 1880 Reich returned to Philadelphia, and in 1885 moved to New York and established a studio there. For some years he devoted himself to portraits for Appletons Cyclopædia of American Biography, numbering over 2,000, in addition he made many pen and ink illustrations for magazines and text books. In the early nineties he turned to etchings on copper and specialized in this field for over 25 years and he etched and published some 14 portraits of American and English authors, poets and artists, and a series of portraits of Famous Americans number some 25 subjects. In addition he executed private commissions for etched portraits, among them Whitelaw Reid, E. H. Harriman, H. H. Rogers, Nelson W. Aldrich, Charles B. Alexander. In 1892 he married Caroline Bellinger, daughter of Emil Bellinger of Frankfurt and he then became a resident of New Dorp, Staten Island, and lived there until his death on July 8,1923

5.
John French Sloan
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John French Sloan was a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the known as The Eight. He is best known for his genre scenes and ability to capture the essence of neighborhood life in New York City. Sloan grew up in Philadelphia, Pennsylvania, where he lived and worked until 1904 and he and his two sisters were encouraged to draw and paint from an early age. In the fall of 1884 he enrolled at the prestigious Central High School in Philadelphia, where his classmates included William Glackens and Albert C. In the spring of 1888, his father experienced a breakdown that left him unable to work. He dropped out of school in order to work full-time as an assistant cashier at Porter and Coates and his duties were light, allowing him many hours to read the books and examine the works in the stores print department. It was there that Sloan created his earliest surviving works, among which are copies after Dürer. He also began making etchings, which were sold in the store for a modest sum. In 1890, the offer of a higher salary persuaded Sloan to leave his position to work for A. Edward Newton, at Newtons, Sloan designed greeting cards and calendars and continued to work on his etchings. In that same year he attended a night drawing class at the Spring Garden Institute. He soon left Newtons business in quest of greater freedom as a commercial artist. In 1892, he working as an illustrator in the art department of The Philadelphia Inquirer. Later that same year, Sloan began taking evening classes at the Pennsylvania Academy of the Fine Arts under the guidance of the realist Thomas Anshutz, among his fellow students was his old schoolmate William Glackens. In 1892, Sloan met Robert Henri, a painter and charismatic advocate of artistic independence who became his mentor. Henri encouraged Sloan in his work and eventually convinced him to turn to painting. They shared a common outlook and in the coming years promoted a new form of realism. In 1893, Sloan and Henri founded the short-lived Charcoal Club together, whose members would also include Glackens, George Luks, towards the end of 1895, Sloan decided to leave The Philadelphia Inquirer to work in the art department of The Philadelphia Press

6.
James Abbott McNeill Whistler
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James Abbott McNeill Whistler was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a proponent of the credo art for arts sake. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail, the symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings arrangements, harmonies, and nocturnes and his most famous painting is Arrangement in Grey and Black No. 1, commonly known as Whistlers Mother, the revered and oft-parodied portrait of motherhood, Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts, on July 10,1834 and his father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, today, the house is a museum dedicated to Whistler. During the Ruskin trial, Whistler claimed St. Petersburg, Russia, as his birthplace, declaring, I shall be born when and where I want, in 1837, the Whistlers moved from Lowell to Stonington, Connecticut, where George Whistler worked for the Stonington Railroad. Sadly, during this period, three of George and Anna Whistlers children died in infancy, in 1839, the Whistlers fortunes improved considerably when George Whistler received the appointment that would make his fortune and fame - that of chief engineer for the Boston & Albany Railroad. Thus, the moved to Springfield, Massachusetts, then one of the United States most prosperous cities. The Whistlers lived in Springfield until they left the United States in late 1842, Nicholas I of Russia learned of George Whistlers ingenuity in engineering the Boston & Albany Railroad, and offered Whistler a position in 1842 engineering a railroad from St. Petersburg to Moscow. In the winter of 1842, the Whistlers moved from Springfield to St. Petersburg, in later years, James Whistler played up his mothers connection to the American South and its roots, and presented himself as an impoverished Southern aristocrat. After her death, he adopted her name, using it as an additional middle name. Young Whistler was a moody child prone to fits of temper and insolence and his parents discovered in his early youth that drawing often settled him down and helped focus his attention. Beginning in 1842, his father was employed to work on a railroad in Russia, after moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. In 1844, he met the noted artist Sir William Allan, Whistlers mother noted in her diary, the great artist remarked to me Your little boy has uncommon genius, but do not urge him beyond his inclination. In 1847-48, his family spent some time in London with relatives, Whistlers brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a set with instruction

7.
Edwin Forbes
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Forbes was born in New York, studied under Arthur Fitzwilliam Tait, and began as an animal and landscape painter. During the Civil War, he was special artist for Frank Leslies Magazine, many of the spirited etchings he drew during the conflict were later presented by General Sherman to the government. They are now preserved in the War Office at Washington because of their historic value, after the war, Forbes painted landscape and cattle scenes, among which are Orange County Pasture and Evening—Sheep Pasture. In 1877 he was made a member of the London Etching Club. He died in 1895 in Brooklyn and is interred in Green-Wood Cemetery and this article incorporates text from a publication now in the public domain, Gilman, D. C. Thurston, H. T. Colby, F. M. eds. article name needed, life Studies of the Great Army, a digital collection of The University of Alabama Libraries Division of Special Collections Green-Wood Cemetery Burial Search

8.
Bertha Jaques
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Bertha Evelyn Jaques was an American etcher and cyanotype photographer. Jaques helped found the Chicago Society of Etchers, an organization that would become significant for promoting etching as a popular printmaking technique. She is best known for her hand-colored botanical prints and scenes from her foreign, Bertha Jaques was born in Covington, Ohio. She enjoyed a comfortable and independent life, traveling to the United Kingdom by herself in September 1889 and she met her husband, William K. Jaques, in 1883 and they moved to Cedar Rapids, Iowa, in 1885. There, Jaques wrote poems for the Railway Conductors’ Monthly until 1889 when they moved to Chicago for her husband to practice medicine and they were married on Thanksgiving Day,1889. In 1893, Jaques attended the World’s Columbian Exposition and was inspired by the prints of James Abbott McNeill Whistler, James Tissot, at this time etching was considered out of style in America. Therefore, Jaques largely taught herself how to etch plates and make prints and she kept detailed records of her progress and the results of how variables affected the finished image. She began to etch on kettle copper with her husband’s surgeon’s tools, without a press she enlisted several men to stand on the plates to transfer the image to paper, although this proved to be an unsatisfactory method. Jaques acquired her first printing press in 1894, William Jaques was very supportive of his wifes artistic career. He purchased her equipment and materials, and also hired domestic help to allow Jaques to focus entirely on her art and she made her first prints in 1894 and would continue to produce 461 unique plates during her career which ended in 1939. In addition to her etchings, she made more than a thousand cyanotype photographs. Later, Jaques would become a member of the Chicago Society of Etchers in 1910. The Society would attract members and renown with Jaques herself as the driving force behind much of its success at popularizing etching in 20th-century America. Thanks to her reputation in Chicago Jaques was invited to speak on the nature of etchings throughout the country. Her tours brought her some degree of notoriety, being named a celebrity to Nebraska. From 1913 to 1917 she toured throughout the country giving lectures in states including Indiana, South Carolina, Kansas, although self-taught, she drew inspiration from the etchings of Rembrandt, whom she held in unsurpassed regard as a printmaker. In a published lecture from 1935 she extols the nature of line as being one of the elements of art, as “the most basic utterance of life. ”According to Jaques lines can evoke any emotion. She also became a figure in the wider community of etchers

9.
Joseph Pennell
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Joseph Pennell was an American artist and author. Born in Philadelphia, and first studied there, but like his compatriot and friend, James McNeill Whistler, he went to Europe. Joseph Pennell had many etchings that depicted historic landmarks in the city of Philadelphia and his etching of Wakefield- Fisher’s Lane was created in 1882. This was the mansion of William Logan Fisher which was standing until 1985 and it would have been located on the corner of Ogontz and Lindley Avenues near La Salle Universitys St. Basil Court. He produced numerous books, but his chief distinction is as an etcher and lithographer. He taught at Slade School of Art and he won a gold medal at the Exposition Universelle, and 1904 Louisiana Purchase Exposition. Pennell visited San Francisco in March 1912, where he undertook a series of so-called municipal subjects. These were exhibited in December 1912 at the gallery of Vickery, Atkins & Torrey, according to Mary Millman and Dave Bohn, authors of The Master of Line, John W. Winkler. Pennell did the poster for the fourth Liberty Loans campaign of 1918 and it showed the entrance to New York Citys New York Harbor under aerial and naval bombardment, with New York in flames and the Statue of Liberty partly destroyed, her head and her torch blown off. He taught at the Art Students League of New York, in 1880 Joseph Pennell created Little Wakefield which is an etching of the Little Wakefield estate. It is a home that is located on what is now South Campus of La Salle University. This estate was built by Thomas Fisher in 1829 and was occupied by his families for generations however, the etching of the estate created by Pennell was created almost fifty years after the house was built. It depicts the house lived in by the generation of Fishers. Little Wakefield has served multiple purposes besides just residency, during World War I it was used as demonstration center for a local branch of the National League of Womens Service. Little Wakefield was also the location where Thomas R. Fisher ran the first knitting factory in America and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Pennell, Joseph. Works by Joseph Pennell at Project Gutenberg Works by Joseph Pennell at Faded Page Works by or about Joseph Pennell at Internet Archive Pennell, the Winterthur Library Overview of an archival collection on Joseph Pennell